Flaubert, Femininity, and Free-Fall Stardom: A Reading of Madame Bovary (Chabrol, 1991) and Un Cœur simple (Laine, 2008)

Abstract

This article reflects on the feminist potential of a contemporary form of French female cinema stardom that John Orr (2004) names ‘free-fall’. According to Orr, free-fall is a genre of female stardom that has come to prominence in French cinema at the end of the twentieth century and the start of the twenty-first. The free-fall star embarks on a journey of ‘ontological descent’, self-destruction and Kristevan abjection, but we cannot know her reasons for such actions. This article considers the gendered implications of the free-fall star with reference to her portrayal and modification of past French literary heroines in the genre of heritage cinema. It considers her presence in two film adaptations of Gustave Flaubert's literary œuvre: Madame Bovary (Chabrol, 1991) with Isabelle Huppert, and Un Cœur simple (Laine, 2008) with Sandrine Bonnaire. The mystique of the free-fall star-text potentially challenges a modernist construction of femininity as the lowbrow Other of highbrow pioneering, but its feminist credentials cannot simply be taken for granted.